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Ariane DeVere
Sherlock, Season 4, episode 3 transcript: The Final Problem, part 2 
19th-Jan-2017 01:14 am
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Sherlock, Season 4, episode 3 transcript: The Final Problem, part 2



Polite request: If you take extracts from this transcript for use elsewhere, and especially if you repost my own words, it would be kind if you would acknowledge the source and/or give a link back to this transcript. Thanks.

Sherlock, Season 4, episode 3 transcript: The Final Problem, part 2

Return to Part 1 / Jump to Part 3/ Jump to Part 4

(Sherlock reaches the far end of the corridor and stops between two white-shirted guards. The sound of music being played on a violin is coming tinnily from a short distance away. The tune is that of the song that Eurus used to sing to him. Whether he recognises this or not is unclear but he maintains his false character.)
SHERLOCK (northern Irish accent): Eyes on Eurus Holmes. (He unslings his rifle from his shoulder and hands it to one of the guards.) Governor’s orders.

Back in the holding cell Mycroft has now put on his suit jacket and has walked closer to the governor.
MYCROFT: Answer yes or no. Has there ever been – against my express instructions – any attempt at a psychiatric evaluation of Eurus Holmes?
GOVERNOR: Yes.
MYCROFT: I presume the tapes are in my office?
(He walks towards the open door.)
GOVERNOR: Your office?
MYCROFT (leaving the cell, with John following): Cast your mind back. It used to be yours.

At the Special Unit Sherlock steps onto a marked area on the floor a few feet in front of a door. The white lighting above his head begins to oscillate back and forth, so presumably he is being scanned. The violin music continues faintly from where a man is sitting at a nearby set of computer screens but it no longer sounds like Eurus’ song. Another white-shirted guard stands beside the door.
GUARD: You ’aven’t been down ’ere before, ’ave you? “Silence of the Lambs,” basically.
SHERLOCK (still in the Irish accent): You what?
GUARD: Keep your distance; stay at least three feet away from the glass an’ all that.
(The lights above Sherlock’s head turn green and then back to white. He looks across to the man at the screens. He has headphones in his ears. Sherlock jerks his head toward him.)
SHERLOCK: Why the headphones?
GUARD: She doesn’t stop playin’, sometimes for weeks.
(Over the seated man’s shoulder we see several camera angles of Eurus. She has long, slightly curly dark hair and is wearing loose white slacks and a loose long-sleeved white top, and she is standing in the middle of a large room which has a white illuminated floor. She is facing a bed and is playing a violin.)
SHERLOCK (in reference to the music): Beautiful.
GUARD: Kills you in the end.
SHERLOCK: Aye. Still beautiful, though.
(The door in front of him has slid open to reveal a small lift inside. He walks in.)
AUTOMATED VOICE: Door closing.
(The door closes behind him and Sherlock instantly straightens up from his slouch. He takes off his jacket and drops it to the floor.
[Transcriber’s note: I’m told by several people that the accent which Sherlock used is Scottish, not northern Irish. Even after listening to a video explaining the tendencies of Irish accents, I still hear Irish, so I’m leaving it here but bear in mind I could well be wrong.]
Downstairs a little later, the lift door slides open. Sherlock has now removed the rest of the guard’s clothing and the hat and is in his normal suit with his hair fluffed into its usual style. Several feet in front of the lift is a wide wall made up of three floor-to-ceiling glass panels. On each of the panels, about three feet from the floor, a notice has been stencilled onto the glass reading in white letters
“MAINTAIN DISTANCE OF THREE FEET”. On the other side of the glass is a large semi-circular room lined with bare grey panels. Soft white lighting comes from the tops of the panels and a large circular panel of lights in the middle of the ceiling sends green light down into the room. Running down the middle of the room, about eight feet wide, is a rectangular strip of white flooring and the rest of the floor is grey, matching the walls. There is a bed at the far end of the room and to the left near the end is a seat and table fastened to the wall. There is no other furniture. In the middle of the room Eurus stands with her back to the door, playing a Bach-like piece on her violin.
Sherlock steps forward and the lift door closes behind him. The overhead lighting turns from green to white. Eurus stops playing and stands there unmoving. After a couple of seconds she starts to play again, this time the familiar tune of her song. Sherlock stands silently, blinking frequently, and briefly flashes back to his young self running through the shallows of the river while Redbeard trots about in the water nearby. In the cell he presses his lips together uncomfortably but doesn’t move while Eurus continues to play.)


We cut to a large screen on a wall which shows four different angles of Eurus in her cell. This is clearly a recording of a previous time because she is sitting on the floor cross-legged facing the glass, her head slightly lowered.
EURUS: Why am I here?
(A man’s voice can be heard on the recording, very faint and offscreen): Why do you think you’re here?
EURUS: No-one ever tells me.
(We now see that Mycroft is sitting in a chair behind a desk in what must be the governor’s office. John stands to the left of the chair and the governor is standing at the other side of the desk. Behind the chair is a glass wall leading to a small balcony which looks out over part of the island. All three men have turned to watch the footage on the screen attached to a wall at the side of the room.)

Down in the cell in the present, Eurus continues to play. Sherlock takes one step forward and immediately Eurus starts to play a frenetic and rapid string of notes. Sherlock lifts his foot from the floor and moves it back and Eurus resumes her previous tune.

In the governor’s office, the men watch the earlier recording.

EURUS: Am I being punished?
MAN (offscreen, faintly): You’ve been bad.
EURUS (almost sing-song): There’s no such thing as ‘bad.’
MAN (offscreen): What about good?
EURUS: Good and bad are fairytales. We have evolved to attach an emotional significance to what is nothing more than the survival strategy of the pack animal. We are conditioned to invest divinity in utility. Good isn’t really good, evil isn’t really wrong, and bottoms aren’t really pretty. You are a prisoner of your own meat.
MAN (offscreen): Why aren’t you?
EURUS (raising her head and looking directly into the camera as she speaks the words slowly and clearly): I’m too clever.

In the cell, still with her back to the glass, Eurus finishes her tune and lowers her bow but doesn’t turn around. When she speaks, her voice comes through speakers.
EURUS: Did you bring it?
SHERLOCK: I’m sorry?
EURUS: My hairband. Did you bring it like I asked?
SHERLOCK (hesitantly): I’m not one of the ... I-I don’t work here.
EURUS: My special hairband.
SHERLOCK (more firmly): I’m not one of your doctors.
EURUS (sounding exasperated): The one I made you steal, from Mummy.
(She turns to face him.)
EURUS: It was the last thing I said to you, remember, the day they took me away.
SHERLOCK (shaking his head slightly): No.
EURUS: No?
SHERLOCK: No, we’ve spoken since then. You came round to my flat a few weeks back; you pretended to be a woman called Faith Smith. We had chips.
EURUS: Does this mean you didn’t bring my hairband?
SHERLOCK: How did you manage to get out of this place? How did you do that?
EURUS: Easy. Look at me.
SHERLOCK: I am looking at you.
EURUS: You can’t see it, can you? You try and try but you just can’t see; you can’t look.
SHERLOCK: See what?
(She holds out the violin towards him.)
EURUS: What do you think?
SHERLOCK: Beautiful.
EURUS: You’re not looking at it.
(He swallows and closes his eyes briefly.)
SHERLOCK: I meant your playing.
EURUS: Oh, the music. (She lowers the violin and turns it round to look at the front.) I never know if it’s beautiful or not; only if it’s right.
SHERLOCK: Often they’re the same thing.
EURUS (looking up at him): If they’re not always the same thing, what’s the point in beauty?
(She turns the instrument to face Sherlock.)
EURUS: Look at the violin.
SHERLOCK: I need to know how you escaped.
EURUS (firmly): Look at the violin.
(Sherlock focuses in on it.)
SHERLOCK: It’s a Stradivarius.
EURUS: It’s a gift.
SHERLOCK: Who from?
EURUS: Me.
(She walks to her right, where a hatch is set into the wall and floor at the edge of the glass. She puts the violin and bow into it and the opening revolves round to Sherlock’s side of the glass. Eurus walks back into the middle of the room while Sherlock goes over to pick up the violin and bow. He walks back to the middle of the floor, looking down at the Strad.)
SHERLOCK: Why?
EURUS (half turned away from him): You play, don’t you?
SHERLOCK: How did you know?
(She turns her head towards him.)
EURUS: How did I know? I taught you, don’t you remember? How can you not remember that?
SHERLOCK: Eurus, I don’t remember you at all.
EURUS (smiling slightly): Interesting. Mycroft told me you’d rewritten your memories; he didn’t tell me you’d written me out completely.
SHERLOCK: What do you mean, “rewritten”?
(She looks at him intensely.)
EURUS: You still don’t know about Redbeard, do you?
(Sherlock looks at her grimly.)
EURUS: Oh. This is going to be such a good day.

In the governor’s office, Mycroft has slumped back in the chair and is no longer looking at the screen as the recording playback continues. John, on the other hand, has walked closer to the screen and is watching intensely.
EURUS (on the screen, still staring into the camera): She smiles at you when you come home. (She nods sharply.) Like a reflex.
GOVERNOR: Everyone we sent in there; it-it’s hard to describe.
(John turns as the governor continues.)
GOVERNOR: It’s ... it’s like she ...
MYCROFT: ... recruited them.
EURUS (on the screen): Smiling is advertising. (She nods on the last word.)
GOVERNOR: Enslaved them.
MYCROFT: She’s been capable of that since she was five.
EURUS (offscreen): Smiling is happiness.
(John turns to the screen again.)
MYCROFT: She’s an adult now. I warned you; I ordered you.
(The governor sighs and smiles a little.)
GOVERNOR: She’s clinically unique. We had to try.
(John looks at him for a moment then turns back to the screen.)
MYCROFT: At what cost?
EURUS (on the screen): Happiness is a pop song. Sadness is a poem.
MYCROFT (looking towards the screen, speaking more softly): What cost?
(He turns back to the governor.)
MYCROFT: Tell me the worst thing that has happened.
GOVERNOR (as Eurus’ voice continues to be heard quietly in the background): She kept suggesting to Doctor Taylor that he should kill his family.
MYCROFT: And?
GOVERNOR: He said it was like an earworm; couldn’t get her out of his head.
MYCROFT: And?
GOVERNOR: He left.
MYCROFT: And?
GOVERNOR: Killed himself.
MYCROFT (after a brief pause): And?
GOVERNOR: ... his family.
(John had been watching the governor but now turns to the screen again.)
EURUS (offscreen): Are you going to cry?
(Mycroft turns his head to the screen, where Eurus has turned her head a little but still has her eyes fixed on the camera. She straightens her head again.)
EURUS: It’s okay if you cry.
MAN (offscreen): I don’t need to cry.
EURUS: I can help you cry.

In the cell.
EURUS: Play for me.
SHERLOCK: I need to know how you got out of here.
EURUS (exasperated): You know already. Look at me. Look and play.
(Keeping his eyes on hers, he lifts the violin and starts to play Bach’s Sonata No. 1 in G minor, the same tune he played in “Reichenbach” when Moriarty came to his flat after his trial fell apart. Sherlock has only played about a second’s worth of the music when Eurus interrupts.)
EURUS (sternly): No, not Bach; you clearly don’t understand it. Play you.
SHERLOCK: Me?
EURUS: You.
(Hesitating for a long moment, Sherlock then lifts the bow and begins to play Irene’s lament. He has only played two notes before Eurus speaks again.)
EURUS: Oh! Have you had sex?
SHERLOCK (continuing to play the tune): Why do you ask?
EURUS: The music. I’ve had sex.
SHERLOCK: How?
EURUS: One of the nurses got careless. I liked it. Messy, though. People are so breakable.
SHERLOCK (still playing): I take it he didn’t consent.
EURUS: He?
SHERLOCK: She?
EURUS: Afraid I didn’t notice in the heat of the moment and afterwards ... well, you couldn’t really tell. Is that vibrato or is your hand shaking?
(Sherlock finishes the long note he’s playing, then stops and lowers the violin and bow. Eurus lifts one side of her mouth in a smile.)

In the governor’s office Mycroft has stood up and is leaning on the desk with both hands. John, his arms folded, has turned to look at the governor who has sat down at the other side. The footage of Eurus continues to play on the wallscreen.
MYCROFT (angrily to the governor): I warned you explicitly: no-one was to talk to her alone.
GOVERNOR: You spoke to her.
MYCROFT (sternly): I know what I’m doing!
GOVERNOR: You even brought her a visitor on Christmas Day.
(John frowns.)
MYCROFT (quieter): I took a calculated risk.
GOVERNOR: You gave her a Christmas present. Remember her Christmas present?
MYCROFT (firmly): I am aware of the dangers Eurus poses, and equipped to deal with them.
JOHN: What dangers?
MYCROFT (straightening up): Eurus doesn’t just talk to people. She ... reprograms them.
(John turns back to look at the screen.)
MYCROFT: Anyone who spends time with her is automatically compromised.
EURUS (offscreen from the wallscreen): I’m only trying to help you. We can help each other.
(The angle switches to her on the screen.)
EURUS: Helping someone ... (she nods) ... is the best way you can help yourself.
MAN (offscreen): I don’t trust you.

In the cell.
SHERLOCK: So clearly you remember me.
EURUS (starting to walk slowly forward): I remember everything; every single thing. You just need a big enough hard drive.
JOHN’s VOICE (in Sherlock’s earpiece): Sherlock.
SHERLOCK (quietly): Not now.
JOHN’s VOICE: Vatican Cameos.
SHERLOCK: In a minute.
(He takes out the earpiece. In the governor’s office, John takes his finger away from his own earpiece and closes his eyes. In the cell, Sherlock puts the earpiece into his trouser pocket.)
EURUS: Let’s continue.
(She stops a few steps back from the glass wall. The camera focuses in on the warning stencilled on the glass.)
EURUS: Did they tell you to keep three feet from the glass?
SHERLOCK: Yes.
EURUS: Be naughty. Step closer.
SHERLOCK: Why?
EURUS: Do it. Step closer.
SHERLOCK: Tell me what you remember.
EURUS: You, me, and Mycroft. (She sighs a little.) Mycroft was quite clever. He could understand things if you went a bit slow but you ... you were my favourite.
(Sherlock takes one small step forward then brings his feet together again.)
SHERLOCK: Why was I your favourite?
(Eurus also takes one step forward.)
EURUS: ’Cause I could make you laugh. I loved it when you laughed. Once I made you laugh all night. I thought you were going to burst.
(Sherlock smiles very slightly.)
EURUS: I was so happy.
(Sherlock takes another step forward.)
EURUS: Then Mummy and Daddy had to stop me, of course.
SHERLOCK: Why?
EURUS (also taking another step forward): Well, turns out I got it wrong. Apparently, you were screaming.
SHERLOCK: Why was I screaming?
(Inside his head he hears a distant whimpering. His gaze lowers.)
SHERLOCK (in a whisper): Redbeard.
(Eurus’ head lifts slightly. Sherlock raises his eyes again.)
SHERLOCK: I remember Redbeard.
EURUS (softly, stepping forward): Do you, now?
SHERLOCK (also stepping forward): Tell me what I don’t know.
(She stares up at him, her gaze intense.)
EURUS: Touch the glass.
(Sherlock frowns at her.)

In the governor’s office, Mycroft is angrily pacing back and forth behind the table, his hands in his pockets.
MYCROFT: I put my trust in you, my implicit trust.
(John has apparently temporarily had enough and goes out of the glass door onto the balcony.)
MYCROFT: As governor of this institute ...
(His voice is cut off as John closes the door and walks to the edge of the balcony and looks over to the sea crashing against the rocks below. He raises his head and his eyes widen and he looks around as if he is starting to realise something. The camera cuts away to a long shot of the island, where the storm front is getting closer, lightning still flashing in the clouds. John blows out a breath and turns around, going back into the room where Mycroft is still pacing.)
GOVERNOR: It’s obvious when it all started. Well, she was never the same after that Christmas. It’s as if you woke her up.
MYCROFT: That is entirely beside the point! You had your orders and failed to act on them.
JOHN (walking closer to him): Listen to the tape.
MYCROFT: Sorry?
JOHN: Do it now. Listen.
MYCROFT: My sister’s methods of ...
JOHN (firmly): Just listen.
EURUS (offscreen): You have no idea how I could help.
(Looking exasperated, Mycroft walks to the desk and picks up a remote control.)
EURUS (offscreen): Bring me your wife. I want to meet her.
(Mycroft turns to the screen and increases the volume.)
MAN (offscreen): I don’t need your help.

In the cell, Sherlock and Eurus are now only one step away from the glass wall between them.
SHERLOCK: Redbeard was my dog. I know what happened to Redbeard.
EURUS (in a condescending tone): Oh, Sherlock, you know nothing. Touch the glass, and I’ll tell you the truth.
(She starts to lift her left arm.)
EURUS: I’ll touch it too, if you’re scared.

On the screen in the governor’s office, Eurus stares into the camera.
EURUS: I can fix her for you, and then I’ll give you her straight back, good as new.
(The footage fritzes momentarily.)
EURUS: I promise.
MAN (offscreen): That’s all? What you’re proposing is not ... it’s not right.
(Now that the volume has been turned up, the man’s voice is clearer. John turns to look at the governor.)
JOHN: Everyone who went in there got affected – “enslaved,” you said.
GOVERNOR (shifting uncomfortably in his chair, looking towards the screen): Yes.
JOHN: One after the other.
GOVERNOR: Yes.
MYCROFT (frowning): Doctor Watson, I think we’ve ...
JOHN (interrupting): Shut up.
EURUS (offscreen from the wallscreen): Do you trust your wife?
JOHN (turning to the governor): One question. (He points to the screen.) That’s your voice, isn’t it?
(The governor had turned to look at him but now his eyes go to the screen again.)
EURUS (looking into the camera): Do you really? Do you trust her?
GOVERNOR’s VOICE (from the screen): You’ve got to stop saying these things.
JOHN: If Eurus has enslaved you, then who exactly is in charge of this prison?
(Mycroft stares towards the screen in shock.)
GOVERNOR’s VOICE (from the screen): It’s completely inappropriate.
(The governor quickly stands up and reaches into his inside breast pocket.)
GOVERNOR (upset): I’m sorry.
(He holds up a remote device in his hand.)
JOHN: No.
GOVERNOR (upset): Very, very sorry.
JOHN: No.
(The governor presses a button on the remote. Immediately the siren starts to sound and armed guards run into the room, aiming their guns at Mycroft and John, who raise their hands. The governor looks more composed as he buttons his jacket.)

In the cell, Sherlock looks towards Eurus’ raised left hand, the fingers curled slightly.
EURUS (softly): You think it’s a trick. You look so ... unsure. You’re not used to being unsure, are you?
SHERLOCK: It’s more common than you’d think.
EURUS (softly): Look at you.
(Sherlock slowly raises his right hand to match hers.)
EURUS (softly): The man who sees through everything ... is exactly the man who doesn’t notice ...
(Straightening their fingers, the two of them slowly move their hands towards each other. At the moment when their hands should touch the glass, Eurus reaches forward a little further and their fingertips touch, then she links her fingers into Sherlock’s. She gasps in mock-surprise.)
EURUS (softly): ... when there’s nothing to see through.
(Sherlock breathes shakily and raises his eyes to hers. She smiles.)
EURUS: Do you see how it was done? I know you like explanations.
(Sherlock blinks rapidly and looks towards their linked hands, then he focuses down to the warnings which he (and we) had always assumed were on the glass and sees that the signs are attached and projecting sideways from the uprights that should be holding the glass. At the top of each upright is a smaller sign, similarly attached and projecting sideways, reading ELEPHANT GLASS and underneath that in smaller letters, SHOCK PROOF. The open end of the sign is shaped into an elephant. Your transcriber shakes an affectionate fist at Arwel wyn Jones, the show’s Production Designer, who has an obsession with putting elephants in the room.)
SHERLOCK (breathlessly): Signs. You suspended the signs.
EURUS: And my voice? Throat mic. Puts me through the speakers.
(There’s a click and now her voice is clear. Presumably someone outside has been listening and has turned off the microphone for her.)
EURUS: Don’t you think it’s clever? Simple but clever?
SHERLOCK (shakily): Transparent.
EURUS: Well, you do keep asking me how I got out of here.
(She unfolds her fingers and slowly pulls her hand away.)
EURUS (softly): Like this.
(She stands and looks at him for a moment, then quickly sucks in a harsh breath and brings up both arms to slam her wrists against either side of his head. He falls backwards to the floor and she hurls herself on top of him, shrieking savagely into his face as she presses her right arm down onto his throat. As he struggles under her she screams out loudly.)
EURUS: Get in here, all of you! Stop me killing him!
(The lift door opens and two guards, who presumably have been waiting in there since after Sherlock’s arrival, run towards her. She is holding Sherlock’s arms down with her left hand and right foot. She raises her head to the guards and speaks calmly while Sherlock chokes under her.)
EURUS: No, no. Stop me in a minute.
(Lowering her head to her brother, she pulls in a breath and then screams into his face as she continues to strangle him.)

Outside the governor’s office, two yellow jumpsuited auxiliaries are marching John away, holding his arms. John kicks out at the ankle of the man to his right and as he cries out in pain and lets go of his arm, John turns to the other man and headbutts him. While Mycroft starts to struggle against his own captors, John races for the nearby stairs up to the glass Control Room. A male American-accented voice calls loudly from the speaker system. It sounds more than a little familiar.
VOICE: Red alert! Red alert! Big bad bouncy red alert!
GOVERNOR (calling up the stairs): Doctor Watson!
VOICE (over the speakers): Klingons attacking lower decks! Also, cowboys in black hats, and Darth Vader!
(While John continues rapidly up the stairs, Mycroft stops struggling and stares up at the nearest speaker as it becomes obvious who the voice belongs to. It’s the voice of James Moriarty.)
JIM’s VOICE (over the speakers, still in the American accent): Don’t be alarmed! I’m here now! I’m here now!
(John slows down on the landing outside the glass room and points warningly to someone offscreen in front of him.)
JIM’s VOICE (over the speakers): Did you miss me? Did you miss me?
(In the glass room, while the technician slowly backs away from John, the screens are showing a heavy flow of water pouring down them but then they clear to each reveal Jim staring into the camera.)
JIM: Miss me? Miss me? Miss me? Miss me? Miss me? Miss me?
(As John stops and stares at the screens in disbelief, behind him lift doors open and two guards quietly hurry out. While Jim continues to repeat his refrain, one of them turns his rifle sideways and strikes John firmly in the back of the head with the butt. John’s eyes glaze and he falls, Jim’s repeated “Miss me?” chant echoing as he goes.)

The instrumental opening to Queen’s song “I Want To Break Free” plays as a helicopter flies towards the island and swoops up over the cliffs and the top of the building to the other side. In his office, the governor stands near his desk and watches out of the window while the chopper heads out over the sea and then turns back towards the island again.
Not long afterwards, as the lyrics to the song begin, the helicopter has landed on the beach. Jim Moriarty, suited and booted, wearing sunglasses and with his hair slicked back, climbs out of the back door with white earbuds in his ears. He stands on the side runners for a moment, looking towards the cliffs, then steps down onto the sand and takes a couple of steps forward before whirling his arms and rolling his hips and then spreading his arms wide either side of him with his head thrown back. Either on the soundtrack or in his own imagination, a large crowd roars its approval and applauds. He lowers one arm and raises the other to the skies, looking upwards while two black-suited goons wearing earpieces walk to stand either side of him. Jim lowers his arm and jumps round to face the helicopter before raising his arm and head skywards again. Again the invisible crowd roars and whistles approvingly. He changes arms, pointing the other one upwards, then lowers it and turns around again, standing there for a moment before raising his hands and pulling the earbuds from his ears. The music stops and the helicopter’s rotors can be heard whirling behind him. Several yards in front of him stand the governor and three armed beanie-hatted guards. Jim tucks his earphones into his inside jacket pocket and then strolls forwards, his goons following. He stops a few feet away from the governor; his bodyguards halt one pace in front of him with their shoulders slightly overlapping his.

GOVERNOR: Mr Moriarty.
JIM: Big G.
(He holds up his right hand with the index and little finger raised. As he lowers his hand again, the governor frowns.)
JIM: “Big G.” Means “governor.” Street speak. I’m a bit down with the kids, you know? I’m relatable that way. D’you like my boys?
(He points towards the man standing to his left and steps behind him.)
JIM: This one’s got more stamina, but he’s less caring in the afterglow.
(He pulls his sunglasses a little way down his nose with one hand and looks over the top of them at the back of the man’s head. The man doesn’t react.)
GOVERNOR: This way, please.
(He turns and walks away.
Shortly afterwards, the doors to a lift open. The governor steps out from one side of the cabin. The bodyguard who Jim just talked about is standing at the other side and the other bodyguard is in the centre but now steps aside to allow Jim – who had been standing behind him – to exit the lift. Jim slowly strolls out followed by his boys and the governor leads them all away. They’re on the same walkway where John was taken down. The governor reaches the staircase at the side of the glass Control Room and turns towards it but Jim slows down and stops facing a narrower corridor which leads straight on. A white-shirted guard holding a rifle stands at the side of the entrance. Jim gestures around the place.)

JIM: Smell all that insane criminality.
(He starts to walk towards the corridor but the guard holds out a hand in front of him and presses it against his chest. Stopping again, Jim doesn’t react to the guard but leans into the hand, bending his head further into the corridor and breathing in.)
JIM: Do you have cannibals here?
GOVERNOR: Yes.
JIM: How many?
GOVERNOR: Three.
JIM (nodding): That’s good. People leave their bodies to science; I think cannibals would be so much more grateful.
(He raises his head a little and whistles in a beckoning sort of way. In the distance, a few voices yell or scream in response. Jim smiles.)
JIM (quietly, in satisfaction): Ah.
(Chuckling quietly he turns to follow the governor down the stairs, throwing a brief look to the guard as he lowers his hand. They walk downstairs towards the office. Mycroft is waiting inside at the far side of the room looking out of the window with his hands behind his back. Jim strolls into the room through the door which the governor has held open for him. The governor then walks away and Jim’s goons stop outside. Jim takes off his sunshades and tilts his head to one side.
Mycroft turns around to face him and at the bottom of the screen the words
“Christmas Day” appear. Mycroft’s hair appears darker and a little thicker than usual and this is explained moments later when, as the camera angle switches to look at Jim, at the bottom of the screen new words appear reading “Five years ago”. A large part of the fandom boos and throws popcorn at the screen in disappointment that Jim isn’t alive in the present and so we haven’t just had the biggest surprise of the entire series. Jim looks at Mycroft, who breathes out a long breath through his nose.
At the side of the room, a nativity scene has been set up on a table.)

JIM (offscreen): Ahh.
(He reaches out and picks up the baby Jesus lying in a manger.)
JIM (offscreen): Isn’t that sweet?
(Mycroft has sat down in the chair behind the desk and tilts his head to the chair on the other side.)
MYCROFT: Won’t you sit down?
JIM (looking down at the figure he is holding): I wrote my own version of the nativity when I was a child. (He looks up to Mycroft.) “The Hungry Donkey.” It was a bit gory but, if you’re gonna put a baby in a manger, you’re asking for trouble.
(Without looking, he holds out his hand and drops the figure back onto the table.)
MYCROFT: You know what this place is, of course?
JIM (quietly): Of course. (He fiddles with some of the animals on the table as he speaks.) So am I under arrest again?
MYCROFT: You remain a person of interest, but until you commit a verifiable crime you are – I regret – at liberty.
(Jim has moved the donkey, a cow and two sheep on the table so that they now closely surround the baby in the manger.)
JIM: Then why am I here?
MYCROFT: You’re a Christmas present.
JIM: Ah. (He walks across the room to Mycroft’s side of the table and holds out his arms as he walks past him.) How’d you want me?
MYCROFT (turning in his chair as Jim walks behind him): There is, in this facility, a prisoner whose intellectual abilities are of occasional use to the British government.
JIM (stopping and looking out of the window): What, for, like, really difficult sums, long division, that sort of thing?
MYCROFT: She predicted the exact dates of the last three terrorist attacks on the British mainland after an hour on Twitter. That sort of thing. In return, however, she requires treats. Last year it was a violin.
JIM: This year?
MYCROFT: Five minutes’ unsupervised conversation ... with you.
(Jim blinks and turns his head a little.)
JIM: Me?! (Smiling, he turns towards Mycroft and blinks mock-bashfully before lifting one hand to his chest, pretending to look amazed.) With me?!
MYCROFT: She has noted your interest in the activities of my little brother.
JIM (walking slowly towards the other side of the table): So ... what’s she got to do ... with Sherlock Holmes?
(He puts his hands on the table opposite Mycroft.)
JIM: Whatever you’re about to tell me ...
(He slowly sits down. Mycroft looks rather tired and defeated.)
JIM (looking at him with fascinated excitement): ... I already know it’s gonna be ...
(He opens his mouth wide and props his left elbow on the table, resting his head on his hand.)
JIM: ... awesome!

Later, the lift door to Eurus’ cell slides open. Eurus is kneeling in the middle of the floor facing the glass. The lights above her head are green. She lifts her head and slowly stands up as Jim walks forward and after a couple of paces the lights turn white. They walk towards each other. In the governor’s office, Mycroft watches the footage grimly. The other two stop a couple of paces either side of the glass and Jim holds his hands out to either side, shrugging.
JIM: I’m your Christmas present.
(He strolls forward again, Eurus also approaching the glass from her side. They stop again, Jim looking down at her appraisingly.)
JIM (in a whisper): So what’s mine?
(Eurus’ eyes turn towards the camera on the wall outside the cell. She focuses in on the red light showing that the camera is active. In the governor’s office, Mycroft watches as the footage is replaced by an image of a heavy flow of water pouring down the screens. In the cell, Eurus looks at Jim.)
EURUS (softly): Redbeard.
(Jim frowns a little. Staring intently at him, Eurus steps even closer to the glass. Now smiling, Jim does likewise. With their noses almost touching the glass opposite each other, they start to sway slowly from side to side and they match each other’s head movements, practically making love through the glass.)

John’s eyes open and he blinks several times, then grimaces and makes a pained noise. Lifting his head from the bed he’s lying on, he puts his hand to the back of his head. Nearby, Mycroft is leaning back against a grey-panelled wall, the top button of his shirt undone above his slightly loosened tie. Sherlock is pacing but now turns to face John.
SHERLOCK: How are you?
(He starts to pace again as John takes his hand from his head.)
JOHN: Bit of a lump.
SHERLOCK: True dat, but you have your uses.
(We see the entire room. They’re in an identical cell to the one which Eurus was in. Presumably it’s not the same one because this time there’s really glass in the front wall. The large light in the ceiling is white, not green. On the left of the room, about halfway back, the governor is sitting on the floor with his back against the wall. Mycroft is at the right-hand side. As Sherlock continues to pace back and forth in front of the glass, John sits up on the side of the bed.)
JOHN: Did you see your sister?
SHERLOCK: Yes.
JOHN (putting his hand to the back of his head again): How was that?
(Sherlock pulls in a long breath before replying.)
SHERLOCK: Family’s always difficult.
MYCROFT (exasperated): Is this an occasion for banter?
SHERLOCK (gesturing towards his brother): Mm, case in point.
(The sound of a phone ringing out can be heard. John stands up.)
JOHN: Are we phoning someone?
SHERLOCK: Apparently.
(John looks across the room to the governor.)
JOHN: What’s he doing here?
SHERLOCK: As he is told. (He stops and turns to John.) Eurus is in control.
(The phone connects and a young girl’s distressed voice can be heard over the speakers.)
GIRL (anxiously, tearfully): Help me. Please, I’m on a plane and everyone’s asleep.
(We cut to the first scene we saw in the episode. The young girl is standing in the middle of the aeroplane’s aisle not far from the flight deck door, holding the phone to her ear.)
GIRL: Help me!
(The lights in the cell go red and Jim’s voice can be heard over the speakers.)
JIM’s VOICE: Hello. My name’s Jim Moriarty.
(Mycroft sighs heavily.)
JIM’s VOICE: Welcome ... to the final problem.
(Still holding the back of his head, John looks across to Sherlock. The lights turn white again.)
SHERLOCK: It’s okay. He’s dead.
JOHN: He doesn’t sound dead.
(The lights turn red.)
JIM’s VOICE: This is a recorded announcement.
(On the plane, the tearful girl can also hear his voice.)
JIM’s VOICE: Please say hullo to some very old friends of mine.
GIRL: Hello? I can hear you talking. Please help me! I’m on a plane and it’s going to crash!
(The lights in the cell turn white.)
MYCROFT (irritatedly): What is this? We can’t do this!
SHERLOCK (glancing towards him): Do shut up, dear.
GIRL (over speakers): Is someone there?
MYCROFT: Is this supposed to be a game?
SHERLOCK (looking at him again): Be quiet.
GIRL (over speakers): Please help me!
SHERLOCK (lifting his head): Oh, hello. Um, try-try to stay calm. Just te-tell me what your name is.
GIRL: I’m not supposed to tell my name to strangers.
SHERLOCK: Of course not. Very good. But, um, I’ll tell you mine. My name is ...
(There’s a click and then static from the speakers.)
SHERLOCK: Hello?
(On a large TV screen, the image of pouring water briefly appears and then resolves to live footage of Eurus smiling into the camera.)
EURUS: Oh dear. We seem to have lost the connection.
(Everyone turns towards the sound. The screen is on a stand in front of the lift on the other side of the glass. Mycroft walks towards the glass.)
MYCROFT: How have you done this? How is any of this possible?
EURUS (no longer smiling): You put me in here, Mycroft. You brought me my treats.
JOHN (walking closer to Mycroft): What treats?
(Mycroft turns his head towards him and presses his lips together a little. Sherlock frowns, then looks round at his brother, who turns and returns his gaze.
Sitting in the chair behind the desk in the governor’s office, Eurus raises a remote control and aims it towards the screens at the side of the room. She clicks a button and the lights in the cell turn red. Jim’s face, in close-up, appears on the cell screen. The entire image is coloured red.)

JIM (in his phoney American accent): Clever Eurus! You go, girl!
(As the lights turn white again John turns to Sherlock.)
JOHN: How can that be Moriarty?
(Before Sherlock can reply, Eurus’ image appears on the screen again.)
EURUS: Oh, he recorded lots of little messages for me before he died.
(Still sitting on the floor, the governor sinks his head back against the wall behind him.)
EURUS: Loved it. Did you know his brother was a station master? I think he was always jealous.
SHERLOCK: The girl – where is she? Can I talk to her again?
EURUS: Poor little thing. Alone in the sky in a great big plane with nowhere to land. But where in the world is she? It’s a clever little puzzle. If you want to apply yourself to it, I can reconnect you; but first ...
(She sits back in her chair and swings it around to face the side. Behind her, out on the balcony beyond the windows, a woman is sitting on a chair facing the room. Large solid handcuffs are attached either side of the seat and the woman’s wrists are manacled at the other end of the cuffs. Wide dark grey gaffer tape is wrapped around her mouth and possibly her nose. She struggles against her restraints.)
GOVERNOR (his eyes wide): That’s my wife.
(He scrambles to his feet and walks closer to the glass.)
GOVERNOR: That’s my wife! (He stares at the screen as Eurus turns her head to look into the camera.) Oh, God, that’s my wife!
EURUS: I’m going to shoot the governor’s wife.
(Mycroft turns away, putting his hand up to his mouth.)
GOVERNOR: Please, no. (He gestures vaguely towards Sherlock as if begging him, though he keeps his eyes on the screen.) Please. Help her!
EURUS (now looking to the side of the room): ... in about a minute. (She turns to the camera again while the woman struggles behind her.) Bang. Dead!
SHERLOCK: Please don’t do that.
EURUS: Well, you can stop me.
SHERLOCK: How?
EURUS: There’s a gun in the hatch. Take it.
(Sherlock walks over to the hatch at the side of the glass. It slides open as he approaches and he bends down and picks up the pistol from inside.)
EURUS: You want to save the governor’s wife? Choose either Doctor Watson or Mycroft to kill the governor.
(John turns away, a bitter smile on his face, while Mycroft lifts his head from where it had been resting on his hand. The governor half-cries, half-gasps.)
GOVERNOR: Oh ... oh God!
(John turns back towards the screen, his face grim. Mycroft stares at Sherlock wide-eyed. Sherlock looks at the governor and takes a step towards him from behind.)
EURUS: You can’t do it, Sherlock. If you do it, it won’t count. I’ll kill her anyway. It has to be your brother or your friend.
(The governor turns round to look at Mycroft.)
GOVERNOR: You have to do this.
(Still wide-eyed, Mycroft shakes his head. The governor turns to Sherlock.)
GOVERNOR: Eurus will kill her.
(Sherlock looks down for a long moment, then releases the grip and tosses the gun a little into the air before catching it by the muzzle.)
SHERLOCK: Doesn’t appear we have a choice.
(He starts to walk across the cell.)
EURUS (smiling): Right, then.
(Sherlock walks towards his brother, holding out the gun’s grip towards him.)
EURUS: Countdown starting.
(Sherlock stops a few steps in front of Mycroft and gestures with the gun, urging him to take it.)
MYCROFT: How long?
EURUS: No, no, no. The countdown is for me.
(The governor stares at Mycroft. The brothers’ eyes are fixed on each other as Sherlock continues to hold the gun out. Nearby, John has his head lowered and his eyes screwed shut. As Eurus continues he unscrews his eyes and shakes his head.)
EURUS: Withholding the precise deadline will apply the emotional pressure more evenly. Where possible, please give me an explicit verbal indication of your anxiety levels.
(Sherlock turns his head towards the glass but doesn’t look directly at the screen.)
EURUS: I can’t always read them from your behaviour.
(In front of him, Mycroft shakes his head.)
MYCROFT (breathily): I can’t do this.
(Sherlock turns to look at him.)
MYCROFT (in the same tone): Can’t. It’s murder.
GOVERNOR (anxiously): This is not murder. This is saving my wife.
(Mycroft looks across to him nervously, running his tongue along the inside of his lips.)
EURUS: I’m particularly focussed on internal conflicts, where strategising around a largely intuitive moral code appears to create a counter-intuitive result.
(Mycroft stares down at the grip of the gun which Sherlock is still holding towards him.)
MYCROFT: I will not kill. I will not have blood on my hands.
EURUS: Yes, very good. (She turns away from the camera and looks across the office.) Thank you.
GOVERNOR (to Mycroft): Killing my wife is what you’re doing.
(Mycroft looks at Sherlock and then down to the gun one more time, then backs away, shaking his head.)
MYCROFT (his voice trembling): No.
(Sherlock holds his gaze for a moment more, then lowers his eyes and turns away.)
SHERLOCK: Okay, fine.
(He turns around and offers the gun to John.)
SHERLOCK (firmly): John.
(John is looking towards the governor or the screen beyond him, but then opens his mouth a little, takes in a breath and turns his head to Sherlock. The governor stares at him, his eyes full of tears, and takes a step towards him.)
GOVERNOR: Doctor Watson. Are you married?
JOHN (still holding Sherlock’s gaze): I was.
GOVERNOR: What happened?
JOHN: She died.
(Sherlock lowers his eyes and presses his lips together. The governor walks towards John.)
GOVERNOR (tearfully): What would you give to get her back? I mean, if you could, if it was possible?
(Both John and Sherlock look at him.)
GOVERNOR: What would you do to save her?
(He gestures towards the screen.)
GOVERNOR: Eurus will kill me. Please save my wife.
(Eurus reaches to the desk and picks up the remote control.)
EURUS: There will, I’m afraid, be regular prompts to create an atmosphere of urgency.
(While she speaks, the lights in the cell turn red and a close-up of Jim’s red-lit face replaces hers on the screen. Manipulating his mouth over-exaggeratedly, he whispers loudly.)
JIM: Tick-tock, tick-tock, tick-tock, tick-tock, tick ...
(The lights turn white and Eurus is back on the screen. After a couple of seconds the red lights are back and so is Jim.)
JIM: Tick-tick-tick-tick-tick-tick-tick-tick-tock, tick-tock ...
(White lights and Eurus return. Sherlock and the governor look towards John, the latter’s expression desperate and pleading. John takes his hands from where he’s been holding them behind his back and he shuffles on the spot, moving as if to put his hands into his jeans pockets. Not meeting his gaze, Sherlock lifts the gun higher towards him. Lowering his hands for a moment, John then reaches out and takes the pistol in his right hand. Mycroft turns away, covering his face with one hand. Sherlock steps to one side, his eyes fixed on John, who looks at the governor standing in front of him.)
JOHN (flexing the fingers on his left hand): What’s your name?
GOVERNOR: David.
JOHN: And you’re sure about this, David?
GOVERNOR (tense and trembling): ’Course I’m bloody sure.
EURUS: Nearly there.
(John hesitates for a moment.)
JOHN: Right. D’you want to ... pray, or anything?
GOVERNOR: With Eurus Holmes in the world, who the hell would I pray to?
(On the balcony behind Eurus, the man’s wife continues to struggle against her bonds.)
JOHN: You are a good man, and you are doing a good thing.
GOVERNOR (softly): So are you.
JOHN: I’ll spend the rest of my life telling myself that.
(David smiles anxiously, closing his eyes and pulling in a deep breath. John turns his head to look at Sherlock, who meets his gaze and lowers his chin slightly in affirmation that there is no other choice. John turns back and raises the pistol in front of him to point it at David. Sherlock steps back a little, putting his hands behind his back and Mycroft again turns away with his hand over his face. David can’t help but jump and gasp, shutting his eyes for a moment. John looks at him, his face set, and his finger settles more firmly against the trigger. Mycroft has turned back a little and watches with his hand clamped against his mouth.)
GOVERNOR (in a tearful anguished whisper): Please!
(John’s gun hand lowers a little, then his face becomes more determined and he raises the gun to its former position. Crying, David raises one hand to stop him and then turns around, presenting his back to John. He backs towards him a little. John bends his arm and lifts the pistol upwards, clearly unhappy about shooting anyone in the back. He looks across to Sherlock who looks back at him silently, leaving him to make the choice. John turns back to David, hesitates for a moment and then steps forward and puts his left hand on his shoulder. David jumps, gasping. John pats his shoulder twice and David understands the message and gets down onto his knees, still facing away from him. As Mycroft turns away and covers his face again, John makes a decisive move and steps forward and presses the muzzle against the back of David’s head. Again David jumps and then sobs quietly.)
GOVERNOR (breathily, tearfully): Oh, God!
(John lifts the gun away, steps forward and leans down to put his hand on David’s shoulder and his head close to his left ear.)
JOHN (quietly): I know that you’re scared, but you should also be very proud.
GOVERNOR (staring ahead of himself, crying): Just do it.
(John pats his shoulder and straightens up, stepping back and aiming the pistol down at him again.)
GOVERNOR: Be quick!
(John adjusts his footing and lifts his left hand to hold the gun with both hands. The lights turn red and Jim appears on the screen.)
JIM (whispering, and tilting his head from side to side on the last three words): Tick-tick-tick-tick-tick-tick.
(The white lighting returns. John breathes out sharply through his nose.)
EURUS: This is very good, Doctor Watson.
(David has his eyes squeezed shut and is crying quietly. Behind him, John’s hands start to tremble on the gun.)
EURUS: I should have fitted you with a cardiograph.
JOHN (quietly, tensely): Goodbye, David.
(David whimpers and the lights turn red. Jim whispers harshly on the screen.)
JIM: Tock-tock-tock-tock-tock-tock-tock tick-tick-tick.
(The white lights return and David whines quietly. John screws his eyes shut for a moment, and his finger wavers as he tries to apply pressure to the trigger.)
GOVERNOR (desperately): Please!
(John’s finger begins to tighten on the trigger. David closes his eyes again.)
JOHN: I can’t. (He lowers the gun and turns to Sherlock.) I’m sorry. I can’t do it.
(Weeping in anguish, David falls forward onto his hands. Sherlock steps towards John.)
SHERLOCK: I know. It’s all right.
(David scrambles to his feet and runs to John, snatching the pistol from his hand and raising it in front of himself with both shaking hands as he stumbles backwards, crying.)
JOHN: Stop! No, no, stop.
(John and the Holmes brothers back away towards the wall, Sherlock and John holding out placatory hands towards David.)
GOVERNOR (tearfully): I’m sorry.
SHERLOCK: It’s all right.
GOVERNOR: I’m so sorry.
(He turns the pistol and pushes the tip of the muzzle under his chin.)
GOVERNOR (sobbing): Remember me.
SHERLOCK: No!
JOHN: No!
(All three of them rush towards him but he pulls the trigger. They slow down and stop, John sighing out an anguished breath. As the bullet’s shell clinks noisily to the floor, in the corner of the room rivulets of blood trickle down the glass wall. Mycroft turns away choking, bracing one hand against the wall and coughing against the other hand as he tries not to vomit. Sherlock looks briefly towards him and then turns to John.)
SHERLOCK: Are you all right?
(John has his head down and is clenching and unclenching both hands but he raises his head to look at Sherlock.)
EURUS: Interesting.
(Sherlock turns and walks towards the glass. David’s body is slumped in the left corner near the hatch, the pistol lying near his right hand.)
SHERLOCK: All right, there you go. You got what you wanted ... (he breathes sharply for a moment) ... and he’s dead.
EURUS: Dead or alive ... (she spins on her chair to face the screen) ... he really wasn’t very interesting, but you three ... (she leans closer to the camera) ... you three were wonderful. Thank you. (She leans even closer.) You see, what you did, Doctor Watson ...
(John raises his head to look at her.)
EURUS: ... specifically because of your moral code ...
(He steps forward a couple of paces.)
EURUS: ... because you don’t want blood on your hands, two people are dead instead of one.
JOHN: Two people?
EURUS: Yes. Sorry, hang on.
(She rotates the chair so that she’s facing the window. The woman on the balcony is obscured from the men’s view. Eurus lifts a pistol high so that they can see the muzzle above the back of the chair, then lowers it and there’s a gunshot. John raises both hands to his head and backs away in frustration.)
JOHN: Oh!
(Mycroft gasps and also turns away, sighing.
From a close-up view on the balcony, there’s now a small round hole in the window. The focus moves to Eurus inside the room, looking towards the hole. After a moment she rotates the chair round to face the side of the room. From the cell, David’s wife can be seen slumped in the chair on the balcony, her head thrown back.)

EURUS: What advantage did your moral code grant you?
(Sherlock looks dispassionate as he watches the screen. Behind him, John has both hands clasped behind his head and is breathing heavily. As Eurus starts to speak again, Sherlock briefly presses his lips together.)
EURUS: Is it not, in the end, selfish to keep one’s hands clean at the expense of another’s life?
(John lowers his hands and takes a few paces towards the screen, shouting angrily towards it.)
JOHN: You didn’t have to kill her!
(Eurus chuckles and turns more towards the camera.)
EURUS: The condition of her survival was that you or Mycroft had to kill her husband.
(John sighs heavily, lowering his head.)
EURUS: This is an experiment. There will be rigour. Sherlock, pick up the gun. It’s your turn next.
(Sherlock turns to look at the pistol on the floor, lying near David’s hand and a large pool of blood.)
EURUS: When I tell you to use it – and I will – remember what happened this time.
SHERLOCK (still looking down at the pistol): What if I don’t want a gun?
EURUS: Oh, the gun is intended as a mercy.
SHERLOCK: For whom?
EURUS: You.
SHERLOCK (raising his head): How so?
EURUS: If someone else had to die, would you really want to do it with your bare hands? It would waste valuable time.
(Sherlock turns to face and look at John. Mycroft stares at him, still wide-eyed. John gazes beyond Sherlock towards the screen.)
JOHN: Probably just take it.
(He looks down. Sherlock steps across the cell, bends down and picks up the gun. He takes out the clip and checks it, then slots it back into the grip and looks up to the screen.)
SHERLOCK: There’s only one bullet left.
EURUS: You will only need one. But you will need it.
(On the left wall, the second panel away from the glass slides to one side, revealing a narrow passageway.)
EURUS: Please, go through. There’s a few tasks for you, and a girl on a plane is getting very, very scared.
(Sherlock turns and walks towards the opening, then stops in the entrance and turns back to face his brother.)
SHERLOCK: Treats?
MYCROFT: Yes. You know, a violin.
SHERLOCK: In exchange for ...?
MYCROFT: She’s very clever.
SHERLOCK (precisely): I’m beginning to think you’re not.
(The lights turn red as Mycroft lowers his eyes, and Jim’s voice sounds cheerfully over the speakers.)
JIM’s VOICE: Come on now! Aaaaaall aboard! (High-pitched) Choo-choo! Choo-choo!
(Sherlock turns and walks into the corridor, John following him. On the screen, Jim pulls the imaginary cord of a steam train as he continues to make choo-choo noises. Looking unhappily down to David’s body, Mycroft follows the other two.)

On to Part 3

Comments 
19th-Jan-2017 01:48 pm (UTC)
The transcript is just remarkably detailed. So incredible that you are giving us this treat! (Remember that your transport requires food and sleep - Sherlock's ideas re health weren't always the best...)

Did you feel, by the by, that Mycroft's responses in Eurus' experiments were a bit off (from the Mycroft of the rest of the series?) That is to say, from the work we understand he does for the British government & others (according to Sherlock; seen in ASIP. ASIB, for ex.) -- wouldn't you think that he would be less squeamish regarding the death of others, even perhaps innocents as 'casualties of war'? He must have to deal with these issues daily, weekly in his minor position in the British government... or so I would think... Even if he isn't the one to actually pull the trigger himself, he should be hardened to the FACT of death, and consequences of war.

And didn't you feel that Jim's recordings were a bit much (not just the number of them, but knowing precisely what to say - 5 years in advance...) For ex., he might have had his Reichenbach Fall plan already figured out, but he couldn't have known precisely how it would ACTUALLY go down, & if his 'suicide' would be necessary. How, then, would he know that he would be gone such that he would 'be missed?' And all of this within the span of five minutes (which I might normally expand based upon necessity -- but Mycroft would have been watching the clock very closely during Eurus and Jim's unsupervised conversation.)

Even considering Eurus' ability to manipulate other people to do what she desired, you'd think that of all people (apart from the Holmes family itself), Jim himself is a prodigy of sorts -- supposedly the equivalent of Sherlock's intelligence (used in despicable ways) -- and as such, is 5 minutes enough to get him to agree to the ridiculous recordings and any and all parts of a plan Eurus is putting together years in advance, without the benefit of knowing precisely what would occur in each person's life leading up to the moment of her 'reveal'?

Not to in any manner WHATSOEVER disparage a single moment of Jim's presence in this episode. He remains my favorite villain, and likely my second favorite character in this series. Fascinating -- I never knew precisely what to expect him to say or how he would say it -- but I found his presence on screen magnetic and it was impossible to pull my eyes away from him but EVER.
19th-Jan-2017 02:24 pm (UTC)
Thanks. I really thought this one would be easier to write because there wouldn't be as much tiny beautiful detail as there was in Detective but there's actually even more at times!

Yes, I agree that Mycroft seemed 'off' in this episode. This is the man who sat with his feet up and calmly watched his brother being beaten to crap in Serbia and then was snarky to him after the torturer left the room. My only explanation (apart from shoddy writing by Mofftiss) is that his shock at having been so played by his sister did something to his emotional state.

I can't imagine that Jim recorded all those messages in the five minutes he had with Eurus. I can only guess that after she took control of the governor she had Jim flown back to the island. As for the 'five years in advance,' we can only sigh and say, "Eurus was Just That Smart."

But it doesn't explain why, if she had this torture session planned for her brothers five years ago, she then let Jim loose to attempt to kill Sherlock, especially knowing - as she must have done, and indeed confirmed later - that Jim had a permanent death wish and would want to take Sherlock with him.

Edited at 2017-01-19 02:25 pm (UTC)
20th-Jan-2017 01:08 am (UTC)
*Did* Jim Moriarty have a death wish before he met Eurus? I couldn't help wondering if she'd used those five minutes to reprogram him to execute a plan that would involve his own death but - more importantly from Eurus' POV - a test of Sherlock's abilities and moral values. Would Sherlock jump off a roof in order to save the lives of three people close to him? And was he clever enough to figure out a way to do it and survive?
16th-Jun-2017 11:28 am (UTC)
NICE
19th-Jan-2017 06:10 pm (UTC) - Mycroft
Anonymous
Seems to me that Mycroft is much more fallible that he would like us to know, and a moral coward to boot, who can not admit even to himself what he really is. I think of how he was beaten by the Woman. He never knew that she escaped death in the Middle East or who saved her there.

Mycroft seems to me in theory as cold blooded as his sister, but in most cases it is not him pulling the trigger or actually doing any of the physically challenging or emotionally wrenching "work." I can not help but think of the politicians sending off the fathers, sons, and ordinary folks to die in the trenches, missing the point about civilians, making deals which lead to another hundred years of slaughter, thinking that they have saved something, done some noble work.

In this episode we see Sherlock reclaiming his humanity, while in the way Mycroft deals with his parents it would seem clear that that the arrogant jerk has not learned anything.

I have also been struck by the number of commenters about this series who miss the whole point of what is going on here. In the long run this is not a genre piece following a cliched pattern, but a character drama about the development of a "good man." His struggles with morality are far more interesting than being clever. Clever is fun and amazing, like the work of a stage magician, but it is not soul stirring.
19th-Jan-2017 10:14 pm (UTC) - Re: Mycroft
" I think of how he was beaten by the Woman. He never knew that she escaped death in the Middle East or who saved her there."

I always had the impression that he knew what happened and that his remark "it would take Sherlock Holmes to save her" (or something like that) hinted exactly at that. He was keeping the truth from John, but I always thought he knew, but decided to let it be. But I can be wrong, of course.
19th-Jan-2017 08:23 pm (UTC)
Wonderful job, as always!

I think there is a major difference between killing by remote control (note Mycroft's dispassionate comment about authorising patience grenades) vs actually doing the deed.

I think they were trying to demonstrate Mycroft's hypocrisy regarding killing in that scene.

DJ Moriarty is a little harder to rationalize other than maybe Euros and Moriarty brainstorming ways to torment Sherlock and the recordings were the result, potentially for a different plan that never came to fruition.
19th-Jan-2017 08:49 pm (UTC)
I've been dying to read this as I couldn't get the bit about how the glass screen wasn't there! You've described it perfectly - I can't thank you enough!

*carries on reading*
16th-Jun-2017 11:28 am (UTC)
VERY GOOD
19th-Jan-2017 10:08 pm (UTC)
Interesting, what people have to say about Mycroft. I also think he is a bit off. I would have expexted him to be stronger and more "acclimatized to violence". SO I think firstly, he is shaken by what his sister is doing to all of them, and secondly I think it is to underscore the change in Sherlock. Because throughout their ordeal Sherlock is deifinitely (to me) the strongest one of them, he is their "leader", no longer looking up to his brother (like he did in series 3, when Mycrofts presence was looming over him), but rather looking after him. But none the less, it is a bit jarring to see Mycroft go to pieces so early during their torture.

Thank you again for this wonderful transcript. I've missed or misunderstood much more of the dialogue than in arlier episodes. I also love all those things you write about the scene settings, that I - again - miss. I didn't notice the elephant thing, I didn't even notice how the signs were attached and was wondering abou that. So - take your time, we will wait for as long as is needed.
19th-Jan-2017 11:13 pm (UTC)
I didn't notice the elephant thing, I didn't even notice how the signs were attached and was wondering about that. So - take your time, we will wait for as long as is needed.

Those are just a few examples of details I never notice or realize until these transcripts are written. It's almost frustrating that I attempt to notice and 'see' all that is happening during my second and third re-watch of an episode, but I am still at a loss or simply have missed so very many details during that process. The only thing that makes this okay is that I recognize at some point in the near future, a transcript will be written that explains almost everything I've missed, and that includes not just my missed details, but also extraneous material included in the script that makes it that much more interesting and/or intriguing.

I sort of think of these transcripts as part and parcel of my Sherlock experience. That is to say, I've enjoyed almost every episode to date; but the episodes themselves are not complete without the accompanying transcript that Ariane (and her team) writes out each time. They not only 'complete' my viewing, they include numerous humorous asides that I (hope) she realizes are appreciated by her 'audience'/'fans'/'people who come to these pages hoping to see what in the hell occurred the week prior...'

And God yes... I hope she takes as much time as is necessary to rest during this process. Nothing will happen if we don't see the next section for a week -- it will merely heighten the suspense for those seven days... (IMHO.)
20th-Jan-2017 04:16 pm (UTC)
"(northern Irish accent)"

I don't know what impresses me most: that someone on the transcript team was able to ID the accent or that that Mr. I Couldn't Do an American Accent if My Life Depended On It can do a decent enough northern Irish accent for it to be recognised as such!
20th-Jan-2017 09:12 pm (UTC)
That was me. I may be bad at recognising some British accents, but this was so Norn that it was unmistakable.
21st-Jan-2017 01:22 am (UTC) - Sherlock's accent
Anonymous
I SO don't want to rain on your parade as I love your transcripts and the effort you put into them and I refer to them often, BUT as I know you highly value accuracy I wanted to let you know that Sherlock puts on a strong Scottish accent here, not a Northern Irish one, sorry. He also did an amazing job of it, it was very accurate.

Again, love your transcripts and I always credit you when quoting from them in forums and such. Thanks for all the hard work!
21st-Jan-2017 08:36 pm (UTC)
Well, after further consultation with people I trust, I'm told that it might be a Scottish accent. Me, I'm still hearing more Irish than Scottish, but I've added a transcriber's note explaining that I may be wrong.
7th-Feb-2017 08:33 am (UTC)
That's interesting. X-) My American ears heard it as Scottish... but then I'm American, and I don't get to hear Scottish or Northern Irish or any other accents from the UK on any sort of regular basis outside of Sherlock, Doctor Who, and Broadchurch, so I can't claim any expertise on the subject. X-)
15th-Jun-2017 11:30 pm (UTC) - Sherlock
I need to know how EURUS got out of cell.l read your transcript several time but l couldnt understand it.would you explain it to me!
16th-Jun-2017 10:49 am (UTC) - Re: Sherlock
I’m not sure if you mean “How did Eurus get through the glass?” / “How and why was the glass in her cell removed?” or if you mean “How did she get out of the cell and go off the island to pretend to be the Scottish woman on the bus, and Faith Smith, and John’s therapist?” In either case the answer is similar:

It becomes clear during the episode that Eurus is able to ‘program’ people who visit her in her cell. Even though it isn’t explained properly how she does it, she is able to make them obey her. It seems that she didn’t just program the governor but many of the guards, and she is in command of all of them. She can therefore come and go whenever she wants, and the governor and the guards have let her travel to England whenever she wants. I assume that the governor arranged for her to travel either by helicopter or by boat, and then brought her back to the island whenever she was ready. When she learned that Sherlock and Mycroft and John were on their way to the island, therefore, she commanded the staff of the prison to take out the glass of her cell and to put in the signs which made it look like the glass was still there.

(She probably hasn’t actually lived in the cell for some time. I imagine that she took over the governor’s house, which must be far more comfortable.)

Basically, Eurus is in charge of Sherrinford Island, and the staff do whatever she wants them to do. The governor pretended that he was in charge so that Mycroft didn’t get suspicious.
18th-Jun-2017 09:53 pm (UTC) - Re: Sherlock
I wanted to know what s wrong with glasses!!!why Sherlock wouldnt see that? As you said there werent actually any glasses...omg... I am satisfied..;-):-o@):-
15th-Jun-2017 11:42 pm (UTC)
elephant thing!!!!!!!!??????:-(:-(:-(what is it???maybe cause l am a persian l misunderstand it..please tell me l can not get it.say it simply plz
16th-Jun-2017 08:56 am (UTC)
Arwel wyn Jones, who is the show’s Production Designer, likes elephants. When he is dressing the various sets for the show, he likes to put models of elephants in the room, or he includes pictures of elephants somewhere in the scenery.

A couple of examples are:

In The Empty Hearse, when Lord Moran is lying on his bed in the hotel room and watching the TV, there are cushions on the bed and the covers of the cushions have elephants on them.

In The Abominable Bride at the end of the scene where Victorian Holmes and Moriarty are in the sitting room of 221B, during the final 'earthquake' before we go to the present day, a small model of an elephant is shaken off a bureau.

And of course in this episode, The Final Problem, there are signs on the wall of the cell showing that the brand name of the glass is "Elephant Glass."
18th-Jun-2017 09:43 pm (UTC)
Such interesting.l did nt get that!!!@):-@):-@):-@):-Elephant..so thanks.
16th-Jun-2017 10:17 pm (UTC)
elephant thing!!!!!!!!??????:-(:-(:-(what is it???maybe cause l am a persian l misunderstand it..please tell me l can not get it.say it simply plz
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